Influence On Popular Music
Louis Jordan is described by the Rock and Roll Hall of Fame as “the Father of Rhythm & Blues” and “the Grandfather of Rock ‘n’ Roll.” He is one of a number of seminal black performers who are often credited with inventing rock and roll, or at least providing many of the building blocks for the music. Jordan was the greatest post-war exponent of the jump blues style, one of the prototypes of rock and roll, and he paved the way for Roy Brown, Wynonie Harris, Tiny Bradshaw and others. Jordan also strongly influenced Bill Haley & His Comets, whose producer, Milt Gabler, had also worked with Jordan and attempted to incorporate Jordan's stylings into Haley's music. Haley also honored Jordan by recording several of his songs, including "Choo Choo Ch'Boogie" (which Gabler co-wrote) and "Caldonia."
Among Jordan's biggest fans were Little Richard and Chuck Berry. Some have suggested that Berry modeled his musical approach on Jordan's, changing the lyric content from black life to teenage life, and substituting cars and girls for Jordan's primary motifs of food, drink, money and girls. Berry's iconic opening riff on "Johnny B. Goode" bears a striking similarity to the intro played by Jordan's guitarist, Carl Hogan, on the 1946 hit "Ain't That Just Like A Woman". Jordan was also an obvious and substantial influence on British-based jump blues exponent Ray Ellington, who became famous through his appearances on The Goon Show.
James Brown has also specifically cited Jordan as a major influence because of his multi-faceted talent. In the 1992 documentary Lenny Henry Hunts The Funk Brown said that Jordan had influenced him "... in every way. He could sing, he could dance, he could play, he could act. He could do it all."
Others have suggested Jordan's vocal style may have been an important precursor to rap. His 1947 sister tracks, "Beware (Brother Beware)" and "Look Out (Sister)", entirely delivered as spoken rhyming couplets, can arguably be classified as one of the first true "raps" in popular music. "Saturday Night Fish Fry" (1950) also features a rapid-fire, highly syncopated semi-spoken vocal delivery that bears some resemblance to the modern rap style.
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